Originally published in Verbicide issue #5

Why do good bands want to change their sound even when fans love them? I’ll never understand why bands don’t just stick to playing what they’re best at — and what’s up with bands refusing to play old stuff that fans love? Stupidity. It’s been so long that this Bay Area band released anything, I almost thought they were broken up, especially after the release of Guitarded, which was a major disappointment.

Before I comment on this CD, it should be known that I was a big fan of the band after they released Pop And Disorderly back in 1997. That was a great release in that the title summed up their sound perfectly. After listening to that CD three or four times, I was sold on the band as being great at what they do: writing catchy, melodic pop songs with a little bit of punk thrown in there. In 1999 Limp released Guitarded, which was actually worse than the title (if that’s even possible). That’s another review, but let’s just say the songs were too slow, poorly written, and worst of all, boring.

Enter Limp’s self-titled album, the band’s newest effort after a whopping three years without releasing anything (the five-song EP on Fueled By Ramen was recorded in ’98). Recorded at Motor Studios San Francisco (where NOFX records), this CD was produced by Ryan Green (NOFX, Lagwagon, etc.), who also produced “Pop and Disorderly.” This is a good sign, and while the CD is not nearly as retarded as Guitarded, it still falls short of their late ’90s material.

Don’t get me wrong though. Limp fans, especially those who fell off the wagon after Guitarded was released, will find this CD reassuring that their once-favorite Fat band hasn’t completely lost their touch. At first glance, I dismissed the cover as being unoriginally typical, but then I noticed that the picture of a hand holding up a middle finger is actually a ring finger. Okay, so it’s not that typical, but still pretty unoriginal. I often wonder if bands intentionally release CDs under the “self-titled” name to make some kind of statement that they have finally “come of age” or are starting anew as Mike Ness did with the 1990 release of the legendary self-titled Social Distortion album. I doubt this is one of those milestones.

Starting off sort of pretty slow for a Fat — I mean, Honest Don’s — band, the CD doesn’t do much until the third song, which is apparently the single on the release, capturing some of the early ’90s punk/grunge elements (minor melodies, reverb on vox). Then the pace picks up towards the middle of the CD, with songs that easily fall in line with their early stuff. The best part of the record though is definitely the production. There’s just nothing like crisp, clean, loud NOFX-style recording. Overall it’s a decent release, and even a recommendation for Limp fans. But if Limp wants to really stand out, they need to quit experimenting and return to what they do best: good, fast, pop-punk songs.

(Honest Don’s, PO Box 193690, San Francisco, CA 94119-3690)